Allgemeines. Congratulations for your work! It’s easy to see which camp the Harry Potter soundtrack falls into. Had Williams given us the actual dominant seventh, the music would have been within the realm of the ordinary. The soundtrack was nominated for Best Original Score at the 74th Academy Awards. Also, what was Ab in the original theme now becomes the equivalent of A-natural, again rendering it the normal note found in the scale, so a bit less strange and mysterious. Required fields are marked *. With the first repetition of A, Williams adds a prominent figure of rapid scales in the strings, harp, and celeste that paints a more vivid musical picture of the sorts of aerobatics that wizards, witches, and their owls engage in. He does this by adding silence between notes. In the years leading up to the talkie, music for movies was often played from anthologies full of cues composed for various emotions and images. The recognizable theme sound track from the movie (Hedwig’s theme) starts off with the use of a high-pitched mystical melody, then orchestral string instruments are used to play the harmony. The music from Harry Potter gives a very gripping and atmospheric effect. So finden sich "Hedwigs Thema" und auch das Thema aus "Harrys Wondrous World" in zahlreichen Variationen wieder. This ousting of the usual dominant chord shifts the sound of the cadence out of the ordinary world and moves it into the realm of the strange and ethereal. 3. This site uses Akismet to reduce spam. We keep your data private and do not share it with any third parties. Mit Klick auf "Einverstanden" setzen wir zusätzlich Cookies und Dienste von Drittanbietern ein, um unser Angebot durch Analyse des Nutzungsverhaltens zu optimieren, um Nutzungsprofile zu erstellen, interessenbezogene Werbung anzuzeigen, sowie die Webseiten … I am excited to go through all these posts and read them. JAVASCRIPT IS DISABLED. Schaut man präziser nach endeckt man vornehmlich Erfahrungsberichte, die den Artikel ohne Beschränkung für gut befinden. That end credits piece is the big theme from Tchaikovsky’s Swan Lake. In Harry Potter and the Prisoner of Azkaban, John Williams employs diegetic music by having the characters in the film sing a song that combines with the background music. The song “Double Trouble” is sung by the school choir while the film score for the movie that reflects mysteriousness and eeriness plays. This kind of semitone motion from 5 to #4 in a minor key is another musical feature that has associations with mystery. There is no G# in the A section. This would explain the childlike sense of wonder heard in the ethereal sounds of the celeste, as well as the features that suggest strangeness, mystery, and the magic of flight. But by substituting F# with F, and A with A#, he instead creates a chord that cannot be fully explained, much like the workings of a wizard’s magic. mb. I’ve just found this site after reading about John William’s inspirations for his music. Please enable JavaScript on your browser to best view this site. To me they sound entirely different and I wouldn’t say they are in any way connected. Anyway, well done! Usually having an orchestra gives you a thicker texture which really helps in creating an atmosphere. Die Musik zu den Harry-Potter-Filmen wurde von vier verschiedenen Komponisten geschaffen: Für die Musik der ersten drei Filme war der bekannte Filmkomponist John Williams verantwortlich, der unter anderem auch Hedwig's Theme komponierte, das inzwischen als Hauptmelodie der Harry Potter Verfilmungen gilt. Vor allem der Fakt, dass viele Melodien aus Harry Potter und der Stein der Weisen übernommen wurden, trug dazu bei. (not that unnatural is bad…) Thanks for letting me feel good about myself for having spotted it, hah… . As shown in the example below, the first two bars of the theme outline the E minor chord, and the bass extends the E into bar 5, all of which clearly establishes the key. Hedwig’s Theme is one of the more flexible themes in Williams’ oeuvre as it does not represent a single specific character or thing the way, say, the Imperial March represents Darth Vader and the Empire. Alle Filmmusik Harry Potter aufgelistet. Für den vierten Teil der Harry-Potter-Filme war Patrick Doyle, für … Many of Williams’ themes for blockbuster action films are marches, which are always set in a two- or four-beat meter. But that’s because of the harmony Patrick Doyle is using – the new note now fits with the new chord, so it makes sense that way. You mean Secret of the Blue Room. ( Log Out /  But at the same time, this triple time creates a lightness and buoyancy in the music, a floating quality that captures the feeling of taking to the air, as wizards so often do. Harry Potter and the Sorcerer’s Stone is the first in a series of seven books centering on protagonist Harry Potter. I’m doing what I can to try and change that. But when Williams restates the whole 8 bars of a theme, he usually keeps the notes the same, so this is unusual that way. Hedwig's Theme ist eine Komposition, die John Williams für den ersten Harry-Potter-Film geschrieben hat. But at the same time, the celeste is associated with the imagi… The melody’s swaying back and forth from 5 to #4 in minor certainly creates a strange and mysterious aura (from the start of this clip): And even in film, in the well known theme for “Harmonica” from Once Upon a Time in the West, motions from 5 to #4 and back to 5 in a minor key create an appropriate sense of eerie mystery for a character about which the audience and other characters in the film know so little about (hear from the start of this clip): I would also point out that the melody of the A section uses all twelve notes of the chromatic scale, and so in an abstract way could indicate that wizards and witches can inhabit both the non-magical world of muggles (or non-magical folk, as represented by a “normal” E minor scale) and the supernatural world of magic (as represented by all the other notes outside the E minor scale). Williams is one of my all-time favourites. Hier gehen die Schüler sieben Jahre zur Schule (vom 11. bis zum 17. And again, this is motivated by the harmony, the new note being part of the new chord. This relates to the movie as Harry and Hermione are going back in time. April 2, 2012. Your email address will not be published. There was also a continuous ticking sound as Harry and Hermione were travelling back in time signifying that time is running out and it builds up to the suspense. Here is the entire B section: But there are some significant changes in the B section as well. I was curious enough to see if anyone else had thought the same. Learn how your comment data is processed. Harry Potter Music Analysis. Das Märchen von den drei Brüdern Harmonically, Hedwig’s Theme is essentially in the key of E minor, but the chord progressions are anything but typical for a minor key. The music of the Harry Potter film series was recorded and released in conjunction with the post-production and releases of each of the eight corresponding films. Thanks for the kind words. Eine Analyse der Potter-Romane ergibt, dass Stoff- und Textstruktur, die adressatenbezogene Sprache, die geschickte Vermischung verschiedener Genres und die klug geplante und ausgeführte Architektur der Reihe den Leser mitreißen. Safe to say it was an inspiration at least. Hi Mark, You’re right that the theme is changed in the fourth film and has the normal scale-degree 2 rather than the flat version Williams wrote. Below is the melody for the entire A section of Hedwig’s Theme, which itself divides into two phrases. Da sie populär wurde und stets mit Harry Potter in Verbindung gebracht wird, findet sie auch in den Folgefilmen Anwendung. Glad you enjoyed the analysis. Harry potter filmmusik - Die TOP Favoriten unter allen analysierten Harry potter filmmusik. Your email address will not be published. Besonders im Winter sind die "Harry Potter"-Filme über Generationen hinweg beliebt. the harmonies are mostly really long notes, which help give the atmospheric effect. For example, in the scene where Harry is trying to fight against the dementers in order to save Sirius, there is a really fast melody playing which is supported by a loud harmony either playing a riff or playing a bunch of notes that sound mysterious when played in the right sequence. Change ). Williams has used a series of minor chords before to accompany similarly mysterious circumstances: the opening scene of E.T., when the aliens are collecting samples of the Earth’s plant life and we are unsure at this point whether or not these aliens are friendly, and in Raiders of the Lost Ark as the theme for the Ark itself, whose divine source of power is shrouded in mystery. Hedwig’s Theme is different, however, because it is set in a three-beat meter, which creates an entirely different feel. Filmmusik Harry Potter - Die besten Filmmusik Harry Potter ausführlich analysiert! Diagon Alley and the Gri… Herzlich Willkommen auf unserer Seite. I loved reading this. (John Williams scored the first three films, but not the later ones.). Thanks a lot! Hey, I just wanted to thank you for all the great analysis of these works. But there is a G#, it’s just written as Ab in my example (bar 12 in my second example) because it’s part of an F minor chord. Die Stücke sind für Flöte, Klarinette, Alt-Sax, Tenor-Sax, Trompete, Horn, Posaune sowie eine optionale Klavierbegleitung arrangiert. Instead, Hedwig’s Theme seems to represent the world of wizards and magic more generally. No problem. It opens with a solo that combines synthesized and real sounds of the celeste, a keyboard instrument whose keys strike metal bars that sound like small bells. Sicheres & geprüftes Online-Shopping bei! You’re right it is hard to find analytical work on this music. Hi Em. So the Tchaikovsky in Blue Room is likely a kind of sustaining of an earlier standard at a time when that standard was in flux and over the next few years to turn confidently towards the original score. Although this theme may originally have been intended only for Harry’s pet snowy owl named Hedwig, its pervasiveness throughout the film captures much of the general air of mystery and wonder that a child like Harry would feel in becoming part of a world filled with wizards, witches, and magic. Personally, I have a hard time hearing Williams’ Harry Potter theme is a rehash of Swan Lake. As soon as we hear those opening notes of ‘Hedwig’s Theme’ in Harry Potter and the Philosopher’s Stone (2001) – or the Sorcerer’s Stone, as it’s known in the US – we are immediately whisked away into Harry’s wizarding world through a flurry of strings and that haunting, solo celesta. Thanks for this. The melody of the B section differs from that of the A section in that it does not sound the tonic of E minor until the very last note, instead hovering mainly around its dominant note. Yesterday I went to an organ recital where Viernes Symphony no 4 was one of the highlights. But at the same time, the celeste is associated with the imaginative world of children primarily through the “Dance of the Sugar Plum Fairy” from Tchaikovsky’s ballet, The Nutcracker, whose fanciful creatures are presented through a young girl’s dream. Many of Williams concert versions of his scores are available in the Signature Series offered by Hal Leonard. John Williams Themes, Part 1 of 6: The Force Theme, John Williams Themes, Part 2 of 6: Star Wars, Main Title, John Williams Themes, Part 3 of 6: The Imperial March (Darth Vader’s Theme), John Williams Themes, Part 4 of 6: The Raiders March (Indiana Jones’ Theme), John Williams Themes, Part 5 of 6: Theme from Jurassic Park, John Williams’ Superman Theme (Superman March). Great analysis. But usually this variation occurs within the confines of a rather short 8-bar theme, like the A or B sections of Hedwig’s Theme, which are great examples. O Children is a song by Nick Cave and the Bad Seeds. Using an electric guitar really won’t fit as Harry Potter isn’t rock ‘n’ Roll. And I agree this is not nearly as good as the original. Mit einem Gesamt-Einspielergebnis von ungefähr 7,7 Milliarden US Dollar sind die 8 Filme die erfolgreichste Filmreihe aller Zeiten. Sound effects are used to emphasise even the tiniest of actions to make the scene more dramatic. "Lily's Theme" (aus Harry Potter und die Heiligtümer des Todes, Teil 2; von Alexandre Desplat) - Filmmusik-Analyse Fast jeder Film hat mindestens ein musikalisches Hauptthema. i don't earn a penny with this video. Cheers. I do what I can to contribute to the growing literature on film music. These same intervals are also heard at the end of the A section in bars 13-15, now with an extra intervening note: Both of the A section’s phrases therefore end with these strange intervals, which helps impart an air of mystery to the theme. May be will analyze these two works on the subject of plagiarism? I wonder why he did that. Williams’ avoidance of the tonic therefore gives the theme a feeling of being suspended in the air like a wizard on his broomstick. Another note foreign to E minor that Williams introduces is A#, the raised fourth scale degree (#4), which first appears in the melody in bar 13. It will be nice you add the name of chords under the note. Hi Aurelia. Notice that this note comes a half step (or semitone) down from the preceding B, which is scale degree 5. After listening to it, I notice that there are a couple of other small note changes. I agree! John Williams scored three films in the series starting with the first, Harry Potter and the Philosopher’s (or Sorcerer’s) Stone. But in bar 6, we get a very strange chord: Taken together, the notes of bar 6 are B-D#-F-A#, which is similar to E minor’s dominant seventh chord, B-D#-F#-A. Released on 30 October 2001, the score was composed and conducted by John Williams. © Mark Richards. With the previous D# the F takes the minor third we would have had and “squashes” it into a diminished third, and with the following B it “squashes” a perfect fifth into a diminished fifth (or tritone). the harmonies are mostly really long notes, which help give the atmospheric effect. BTW, a more extended analysis of Williams’ Superman March is now posted here – it draws on the points I gave in the Brazilian article but takes them further. We began to dismember the great masters. Did you notice that the A and B melodies have 1 note in each which shifted in the repeat? Patrick Doyle entwickelte für den vierten Potter viele neue Themen und Motive. Hi Mark, Music Analysis: Harry Potter. Curiouser and curiouser…. I’m a very enthusiastic on film scores and found your blog reading the Brazilian “Revista Cultura” magazine. Bach, Verdi, Bizet, Tschaikovsky and Wagner — everything that wasn’t protected from our pilfering by copyright.”. Change ), You are commenting using your Twitter account.